2020 MLA Conference Panel 1 Margaret Atwood's The Testaments: Responses to The Handmaid's Tale Sequel Response 1: My roundtable discussion of Margaret Atwood’s The Testaments will consider the novel through the critical lens of food and consumption. Throughout Atwood’s speculative fiction, food plays a significant role by communicating characters’ material circumstances, social hierarchies, and dreams of a better future. In Atwood’s dystopian worlds, therefore, meals are rarely satisfying – signalling the limitations imposed on marginalized members of the imagined societies and the immense difficulties these individuals face in becoming agents of societal change. Indeed, Atwood’s dystopian meals are in keeping with her definition of power politics as “who is entitled to do what to whom with impunity; who profits by it; and who therefore eats what” (“Amnesty” 19). In The Handmaid’s Tale, Gilead’s absolute power manifests itself in Offred’s solitary, institutional-like regimen. Her breakfasts consist of two eggs (one contained underneath the egg cup upon which the other egg rests), symbolizing the theocracy’s exploitation of the handmaids’ viable ova and bodies through enslaved surrogacy (120). Just as the handmaids’ diets are controlled, then, the handmaids themselves are a commodity, a “national resource” to be branded, traded, and consumed (75). My contribution to the roundtable discussion will consider how the power politics of food and consumption, as previously established within The Handmaid’s Tale, extend and/or alter within The Testaments. Because the sequel’s title suggests a focus on confessional narratives, I will be especially interested in examining how Atwood potentially empowers women through their own food voices and through literal and figurative acts of consumption. Works Cited Atwood, Margaret. “Amnesty International: An Address (1981).” Second Words: Selected Critical Prose, 1960-1982, House of Anansi Press, 1995. ---. The Handmaid’s Tale. McClelland and Stewart, 1985. Bio-Statement: Shelley Boyd is a Canadian literature specialist at Kwantlen Polytechnic University in Vancouver, Canada. She is the author of Garden Plots: Canadian Women Writers and Their Literary Gardens (MQUP, 2013) and co-editor of the forthcoming collection Canadian Culinary Imaginations (MQUP, expected in fall 2019). Shelley has published on Atwood’s “Ustopian Breakfasts” in the journal Utopian Studies (2015) and on Atwood’s gardening technologies and the politics of dirt in the edited collection The Good Gardener? Nature, Humanity and the Garden (Artifice Books on Architecture, 2015). Response 2: I’m a poet whose books of domesticity/sexuality/girlhood/feminism/motherhood are shot through with everyday trauma along with heavy currents of dystopian systems, parallel universes, and other speculative worlds. My current book, The Octopus Museum (Knopf 2019) imagines human civilization taken over by cephalopods; the reproductive capacities/rights of women are yet again probed and investigated to a state of precarity and erasure. In one poem an “early crone” is placed with a family in order to keep household rations stable; in another the Octopodal Overlords embark on a research project titled, “Are Women People?” My work pitches the most outrageous and hellish scenarios that are nevertheless, like Atwood’s vision, somehow utterly possible, if not downright historic (as hers are.) For we don't need to get speculative to find horror: a disabled family member means closed borders for countless families; we burn precious resources for fuel, we allow racism and misogyny to poison one generation after another. But when the speculative narrative route is chosen, how does it function as an act of imaginative protest? How can we—and how does Atwood?—use fantastical dystopias to identify how to prevent arriving at one in real life? How can feminist perspectives evolve to survive such dire possibilities if we can’t prevent them? How can we become fluent in intersectional feminism so that, if the world doesn’t end, we can begin to reimagine, rebuild and protect a concept of personhood that is supple and versatile enough to include everyone? Keywords: poetry, ecopoetics, personhood, octopus, dystopia, disability activism, reproductive freedom, intersectional feminism. Brenda Shaughnessy Associate Professor of English and Creative Writing Rutgers University-Newark Brenda Shaughnessy is the author of five poetry collections, most recently The Octopus Museum (Knopf 2019). 2012’s Our Andromeda was a New York Times’ 100 Notable Book, a finalist for the Griffin International Prize and the Kingsley Tufts Prize. She’s the recipient of a 2018 Literature Award from the American Academy of Arts and Letters and a 2013 Guggenheim Foundation Fellowship. Her poems have appeared in Best American Poetry, The Nation, The New Yorker, Paris Review, Poetry Magazine, The Yale Review, and elsewhere. She is currently writing an opera libretto for the composer Paola Prestini, commissioned by The Atlanta Opera for production in the 2020 season. She is Associate Professor of English and Creative Writing at Rutgers University-Newark and lives in Verona, New Jersey. Response 3: Testamentary Capacity and Acts of Witnessing Margaret Atwood has given readers awaiting release of The Testaments, the sequel to her iconic novel The Handmaid’s Tale, the following message: “Dear Readers: Everything you've ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything! The other inspiration is the world we've been living in.” The focus of this response to the novel will rest on the “other inspiration” Atwood mentions. Specifically, I’d like to discuss the way testaments have shaped our current geopolitical landscape. On one hand, I’d like to discuss how political figures have used the interpretation and issuing of testaments—particularly religious texts—with increasing effectiveness to control the public. On the other hand, I want to focus on the role of the artist, the author, in creating a new type of testament. Atwood explains in “Notes Toward a Poem that Can Never Be Written” that this creation is “Partly it’s an art / The facts of this world seen clearly” and “It is also a truth. / Witness is what you must bear” (Selected Poems II 41-42; 56-57). In this response, I plan to put the three narratives of The Testament in the context of the writer’s witnessing discussed in Atwood’s poetry. Lauren Rule Maxwell is an Associate Professor of English at The Citadel, The Military College of South Carolina, and author of Romantic Revisions in Novels from the Americas, published in the Purdue University Press Comparative Cultural Studies Series. Dr. Maxwell teaches American and contemporary literature as well as advanced composition, professional writing, and business communications. She also serves as director of the Lowcountry Writing Project, a local site of the National Writing Project that fosters writing among teachers in the Charleston area and helps them use writing more effectively in their classrooms. Response 4: Maternity Traumas: A Discussion of Atwood’s The Testaments As part of a larger project, my dissertation, where I discuss the traumas of motherhood in contemporary American and Canadian literature, I use Atwood’s The Handmaid’s Tale (1985) as a starting point for late 20th and early 21st century maternity narratives, which seem to be hybrids of the domestic and revenge novel genres. Increasingly, the depiction of motherhood in such novels explores the traumas of maternity, often understanding these traumas as side effects of late-stage capitalism. In this roundtable, I will discuss the ways in which Atwood, through The Testaments, continues to answer a societal need for feminist revolution and rebellion, particularly through the functions of motherhood. I will frame The Testaments as foundational text in a larger, growing canon of contemporary literature that situates the violence and trauma linked with maternity as a base for anti-capitalist, intersectional, feminist critique—extending the work of The Handmaid’s Tale. I propose to discuss The Testaments in terms of how it serves to further the narrativization of North American maternity, its traumas, and its problematic institutionalization. I plan to address questions such as: If The Handmaid’s Tale is seen as a starting point for critical narrative exploration of near-future understandings of motherhood, how does The Testaments further and/or change contemporary maternity narratives? How does The Testaments handle concerns of state and capital controlled/regulated maternity in comparison to ostensibly similar novels like Louise Erdrich’s Future Home of the Living God (2017), Leni Zumas’ Red Clocks (2018), or Christina Dalcher’s Vox (2018)? Megan E. Cannella (she/her) Graduate Teaching Assistant Core Humanities Distinguished Teaching Assistant, 2018-2019 Dept. of English/MS0098 University of Nevada Reno, NV 89557 [email protected] Response 5: The Handmaid’s Sequel: Exploring the Feminist Politics of The Testaments While The Handmaid’s Tale has been much admired and discussed in both academic and non- scholarly settings since its initial publication in 1985, it gained a new lease of life following the release of the recent Hulu adaptation, which garnered major media attention and revived interest in the original novel. Much of the publicity surrounding the adaptation focused on the fact that it was released soon after Donald Trump won and assumed the US presidency, and many